This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3652

Post No. :

14504

ASAD 10th Anniversary Celebrations – 12
———————————————————————

For TEN year old ASAD, my hearty congratulations and happy B-Day to the Musically Singing Blog.

The lion’s share of the congratulations for this celebration goes to Atul ji, for starting and sustaining this blog, and words cannot describe our gratitude for that. The blog has also brought together many music lovers and I have found some real ‘gems’ of friends in them. Atul ji, thanks again for that too.

I wish to celebrate with the members who like real GOOD Music with this RARE jugalbandi of Talat Mehmood and Mukesh. It is an NFS Gazals and is one a rare set which are classified as ‘ham-radeef ghazalein‘​; which means a pair of ghazals in which a phrase of couple or more words at the end of each she’er is the same, even in when the ghazals are written by different sha’ayars.

I strongly believe – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain“. And so I have included these two ham-radeef ghazals, in this celebration series. Some members may classify such songs as ‘melancholy‘. (By the way I hate to describe a song by that word. I prefer to call them ‘full of pathos’, instead). As my personal choice, I enjoy and prefer them to ‘chaalu’ songs. Recently Arunbhai mentioned on Facebook – “When you are happy, you enjoy the music. But, when you are sad, you understand the lyrics.” Since this is lyrics emphasising presentation, I am justified to present it for an Event Celebration.

Coming back to the ‘ham-radeef‘ ghazals presented today. It is from a really rare album bearing same name from Saregama (or was it ‘HMV’ and then ‘RPG’ as it was called in different periods of time). Great, but less heard music director Murli Manohar Swaroop not only searched out the ‘similar ending words’ ghazals, but also gave melodious and appropriate tunes to them. The extended play record (called EP, for the knowledge of younger generations) contains four pairs of such ‘ham-radeef’ ghazals.

On this EP, three such pairs are by Talat and Mukesh and one is by Talat and CH Atma. Shri Sadanand Kamath from our group has already presented one Talat-Mukesh ‘ham-radeef‘ pair of ghazals on our musical blog. This is the second one out of those four and ‘Prabhu krupa’ permitting, I shall present them, unless someone beats me in the race.

As you can see, the lyrics have all the she’ers ending with the words “kyun ho“. That is the beauty of ‘Ham-Radeef’ ghazals. Two poets, Ghalib and Daagh Dehlavi, in different time period have written them. Two sweetest voices of OUR music world, Talat Mehmood and Mukesh have rendered them in different tunes. I call it nothing less than the marvel of the composer Murli Manohar Swaroop.

Once the heart is given to someone else
Why then lament with regret and distress
For, when the heart is given over, and is not in your bosom
How then there be a tongue in your mouth
[The poet is emphasizing that when the heart is given to someone else, then we have lost the right to complain or be regretful. We gave over our heart by our own sweet will. Then where arises the question to be distressed, or to raise a voice of complain.]

What be that love, and what good being faithful to such love
If love means breaking one’s head against stone
And if love does mean breaking one’s head against stone
Then why, O stone hearted one
Be that stone of your abode, of the entrance where you be
[The poet’s indication is towards the heart of the person, which is itself being compared to stone; for the heart is where one’s living force is; where one lives.]

On the Day of Judgment
All the mis-deeds and offences of injustice
That you desired, will be exposed
Why then your courage for being cruel and merciless
Be a condition for your trials (today)
[The poet lays his faith on the final Day of Judgment, that an evil doers deeds will be exposed and dealt with accordingly, so why the courage and the capacity of an evil doer to torment and persecute others be a matter of examination today.]

My beloved has unfair unjustified complaints of me
But then these complaints are to me and no one else
For complaints only come along with love
[The poet is expressing that because love is, therefore complaints are. One does not complain to them with whom there is no relation of love.]

O my healer, my curer
The blisters on my heart
Are as dear to me, as is my heart itself
It is a treasure I have accumulated
With great pain and sacrifices
Why then this treasure may allowed to be wasted in vain

This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mubarak Begam enthralled music lovers with her fresh and original voice in 1950s and 1960s, but she was soon edged out of contention by the bigger and established names in the industry and she faded away. Little was known about the whereabout of Mubarak Begam for the next four decades or so when an interview of Mubarak Begam appeared in 2010.Read more on this topic…

This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is the seventh song in my series ‘Songs from Album Varsha Ritu’. Amongst the male popular singers during that musical period, classical and semi-classical songs were the forte of Manna Dey and Mohammad Rafi. Mukesh and Talat sang very few songs in that category. This Talat non-film song in Miyaa-Malhar is penned and tuned by the HMV staffer Murli Manohar Swaroop. Lots is written about Talat Mahmood in other postings of his songs on this Blog. Not to repeat much, a brief report from Wikipedia should be more than enough.Read more on this topic…

This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh is extensively covered by Shri Sudhir-ji in his ‘The voice of Mukesh’ series’. I will just include few bits from Wikipedia about his personal life.Read more on this topic…

This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

After these three NFS included in this blog I am continuing this series of songs from the album ‘Varsha Ritu’.

This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

According to Wikipedia, “Born in 1926, Lakshmi Shankar started her career in dancing. In 1939, when Uday Shankar brought his dance troupe to Madras, (recently renamed Chennai), she joined the Almora Centre to learn Uday Shankar’s dance style based on the Indian classics, and became a part of his troupe. She later married Uday Shankar’s brother, Rajendra (with nickname Raju).Read more on this topic…

This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Most of us are aware that a ghazal is a series of couplets (she’rs), each one being independent of others. In fact each she’r is a poem by itself. So theoretically, she’rs written by different poets (shaayars) can be woven to make it a ghazal. This is easier said than done as there are other parameters to make it a traditional ghazal. Normally, there are five essential aspects of a traditional ghazal. They areRead more on this topic…

This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

For the past few days, I have been going through the poems of Amir Khusrau. Fortunately, most of his poems are available on the internet with English translation. His love poems, riddles, dohas (couplets in Hindwi), qawwalis etc are very absorbing. I feel, it will not be an exaggeration to say that the trigger for the first literary renaissance especially in northern India was witnessed during the time of Amir Khusrau. He was one among the first in elite class to propagate the use of an Indian vernacular language in his poems which he called Hindawi ( mix of Hindi and its subsidiary dialects). I am not sure but the development of Urdu language in later years may have come as a continuum from Hindwi language.Read more on this topic…